Reassessing Horapollon: a contemporary view on Hieroglyphica

Hieroglyphs, 2023

This paper (the first of a series) deals with the reception of Egyptian hieroglyphs in the Renaissance. Humanists and artists were not much interested in deciphering the ancient Egyptian writing, which was increasingly revealing itself in the monuments that were rediscovered in the 15 th and 16 th centuries, mainly in Italy. Stimulated by the (neo-)Platonic vision of a purely symbolic mode of expressing ideas, and comforted in this by the edition of the Hieroglyphica, attributed (probably wrongly) to Horapollo, they created their own system of writing, which was first put in practice in Francesco Colonna's Hypnerotomachia (Venice, 1499). A er a general introduction, this paper presents the available documentation in a principled way, by sorting out the data according to their semiotic functions, whose mechanics will be dealt with in the second part of the study.

Morra L., Bazzanella C., Hieroglyphs and Meaning, in eadem (a cura di) Philosophers and Hieroglyphs, Rosenberg & Sellier, Torino, pp.7-32. , 2003

This volume collects the proceedings of the international workshop I filosofi e la scrittura egizia -Philosophers and Hieroglyphs, held in Turin, Italy, on December 6 th and 7 th 2002 and organised by the local Departments of Philosophy and of Anthropological, Archaeological and Historicalterritorial Sciences.

Indigenous Graphic Communication Systems: A Theoretical Approach, 2020

IMAGO. Revista de Emblemática y Cultura Visual, 2015

in L’homme 233 (2020), p. 9-43. https://journals.openedition.org/lhomme/36526, 2020

The writing systems of the world vary by origin and development. Most descend from a few creations that, despite their shared origins, change in reaction to their progenitors. Over time, contrast and difference generate a whole series of new scripts, often as part of a process in which writing affirms and marks group identities (Houston & Rojas 2020). Almost all such scripts are line-or stroke-based ; if they ever did have a pictorial basis, it is now long gone, or at least far in the background. But a few scripts do exist that, throughout their history, have retained pictorial signs and a commitment to depicting things. These are the hieroglyphic systems. Alongside the preserved pictoriality of hieroglyphic signs-a major and deliberate cultural choice-we find a thorough integration of hieroglyphic writing with aesthetic culture. Like other scripts, hieroglyphic writing represents language, but it is also an encyclopedically dense mode of visual communication, at once inviting and exclusionary, and, at times, even virtuosic in its making and interpretation. Hieroglyphic signs do not just stand for linguistic values : they are inviolable things in their own right, implying a particular ontology and a capacity for performance. Although some of these properties are found in other types of scripts, hieroglyphic writing has them to a concentrated, intense degree.

Word & Image, 2021

This article presents a cross-cultural, diachronic, and comparative analysis of the representational aspects of picturewriting through the use of hieroglyphs in ancient Egypt and their revival in early Renaissance Europe. The two phenomena will be discussed with a focus on the functionality of the sign within the non-textual sphere, highlighting such similarities as the glottographic nature of the word-signs and the subsequent unified visuality of text and image. It is suggested that the similarities are the by-product of picture-writing: when words are expressed with pictograms rather than with letters, the following step is to benefit from their dual function, as both text and image. The current use of pictograms in digital media-namely the emoji-is a process that already exhibits similar traits.

cogito.ucdc.ro

Starting from the premise that The Hieroglyphical History is a cultural sign, the author shall distinguish, on the one hand, the message of the work as sign, with a statute similar to the significant and on the other hand, the code, which functions like a significant.

IMAGO. Revista de Emblemática y Cultura Visual, 2016

In this two-part article the Spanish reception of hieroglyphs, and their outcomes, are presented as an important aspect of the process of transmission of hieroglyphs in Early-Modern Europe. This change of perspective is important because it gives a general context for the phenomenon in Spain, clarifies its ties with the rest of the continent though the process of the diffusion of ideas and-perhaps more relevantly-highlights the distinctive characteristics that hieroglyphs achieved in Spain as a reflection of their adaptation to a different mentality, culminating in the creation of what the author regards as «classic Spanish hieroglyphs». 1

Aix-en-Provence cedex 1 Tél. 33 (0)4 13 55 31 91 [email protected] -Catalogue complet sur http://presses-universitaires.univ-amu.fr DIFFUSION LIBRAIRIES : AFPU DIFFUSION -DISTRIBUTION SODIS Préhistoires de l'écriture. Iconographie, pratiques graphiques et émergence de l'écrit dans l'Égypte prédynastique | 2016 | 161 -172